All answers must be more than three sentences. - · PDF fileAll answers must be more than three sentences. 1. ... a destiny preordained by the gods no matter what ... Oedipus the King

All answers must be more than three sentences.

1. Read pages 1058-1059.

2. On page 1058, create your own definitions for tragic hero, tragic flaw, catastrophe,

and chorus using the definitions in the book as a guide.

3. Write down examples of a tragic hero, either from a movie or real life.

4. On page 1059, answer questions 1-5.

5. Read page 1064-1065.

6. How is classical Greek theater different from today's theater?

7. According to Aristotle, what causes audiences at a tragedy to feel pity and fear?

8. Online Research: Pair up with someone who has a device or work by yourself.

Research the legend of Oedipus and Sophocles's other plays about Oedipus. In your

own words, write a paragraph summary about Oedipus.

9. Create a family tree for Oedipus' family.

unit 10Text

Analysis Workshop

1058 unit 10: greek tragedy and medieval romance

Greek Tragedy and Medieval RomanceIn today’s popular culture, heroes are celebrated in movies and TV shows. Centuries ago, other cultures immortalized their heroes in literature. Consider ancient Greek tragedy and medieval romance. One features ill-fated heroes who face defeat with dignity, and the other follows gallant, knightly heroes on perilous quests. Each type of hero reflects the values of its time and its society, but these values still appeal to us, many centuries later.

Part 1: Greek TragedyIn literature, a tragedy is a form of drama that shows the downfall of a dignified, superior character who participates in events of great significance. The ancient Greeks, who developed tragedy, used it to explore ideas about humans’ relationship to the gods, often delving into such serious subjects as duty, suffering, and fate. These ideas were often developed through motifs, concepts or elements that recur throughout the play to help advance its plot and reveal its theme.

Familiarize yourself with the characteristics of Greek tragedy by examining this chart.

CatastropheA tragedy ends with a catastrophe —a disastrous conclusion that usually involves multiple deaths. If the tragic hero does not die, then he or she suffers complete ruin.

Tragic FlawA tragic flaw—an error in judgment or a weakness in character, such as pride or arrogance—helps bring about the hero’s downfall. The tragic hero recognizes this flaw and its consequences but only after it is too late to change the course of events.

Chorus Throughout a tragedy, the chorus—a masked group of actors—observe and comment on the action through songs. Their responses and values were supposed to reflect those of the audience.

FateThe ancient Greeks believed in the idea of fate, or a destiny preordained by the gods no matter what action a person takes in the present. The Fates, or Moirai, were three goddesses who determined the length of a person’s life and how much suffering it would contain. Greeks held that it was impossible to escape one’s fate. This belief is reflected in such ancient tragedies as Oedipus the King and Antigone.

Tragic HeroThe tragic hero at the center of a tragedy is a person of high rank who accepts his or her downfall with dignity. The tragic hero is one common archetype—a model from which similar heroes have been copied for centuries in mythic, traditional, and classical literature.

characteristics of greek tragedy central belief

Included in this workshop:RL 2 Determine a theme or central idea of a text. RL 3 Analyze how complex characters develop, interact with others, and advance the plot or develop the theme. RL 6 Analyze a particular point of view or cultural experience reflected in a work of world literature. RL 10 Read and comprehend stories and dramas.

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text analysis workshop 1059

model: characteristics of greek tragedyOedipus the King is one of the most famous Greek tragedies; the philosopher Aristotle based his definition of tragedy on this play. Which characteristics of Greek tragedy do you notice in this excerpt?

Oedipus. My father was Polybus, king of Corinth.My mother, a Dorian, Merope. And I was heldthe prince of the realm among the people there,till something struck me out of nowhere,something strange . . . worth remarking perhaps,hardly worth the anxiety I gave it.Some man at a banquet who had drunk too muchshouted out—he was far gone, mind you—that I am not my father’s son. Fighting words!I barely restrained myself that daybut early the next I went to mother and father,questioned them closely, and they were enragedat the accusation and the fool who let it fly.So as for my parents I was satisfied,but still this thing kept gnawing at me,the slander spread—I had to make my move. And so,unknown to mother and father I set out for Delphi,and the god Apollo spurned me, sent me awaydenied the facts I came for,but first he flashed before my eyes a futuregreat with pain, terror, disaster—I can hear him cry,“You are fated to couple with your mother, you will bringa breed of children into the light no man can bear to see—you will kill your father, the one who gave you life!”I heard all that and ran. I abandoned Corinth. . . .

At the end of the scene, the chorus sings.

Chorus. Destiny guide me alwaysDestiny find me filled with reverence pure in word and deed.Great laws tower above us, reared on highborn for the brilliant vault of heaven— Olympian sky their only father,nothing mortal, no man gave them birth. . . .

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Tragedy by Sophocles, translated by Robert Fagles

from

OEDIPUS t h e k i n g

Close Read1. What do you learn about

the tragic hero Oedipus in lines 1–3? Consider his background and how others regard him.

2. What incident disturbs Oedipus’ happy existence?

3. According to the god Apollo, what tragic fate awaits Oedipus?

4. Reread the boxed text. Consider Oedipus’ response to the disturbing news at the banquet and the vision that Apollo flashes before his eyes. What possible tragic flaw does Oedipus display?

5. Summarize what the chorus says about destiny and the laws that rule human life.



Part 2: Medieval RomanceThe heroes who populate the pages of medieval romances are not suffering, flawed figures but knights in shining armor. A romance is an adventure tale that features extravagant characters, exotic places, heroic events, passionate love, and supernatural forces. Romances first appeared in Old French literature of the 12th century and quickly spread throughout Europe. The best-known English romances concern the legendary King Arthur and his Knights of the Round Table.

Romance literature expresses the ideals of chivalry, an elaborate code of honor that is described in the chart. As the stories entertain readers, they also convey medieval values of loyalty and Christian faith.

Romance HeroThe romance hero is a knight of superhuman strength, intelligence, and virtue who follows the code of chivalry.

Supernatural ElementsSorcerers and magic spells, giants and dragons, mysterious evil forces and foreknowledge of future events—such supernatural elements all play a part in romances.

Hidden IdentitiesIn a romance, others are often unaware of a character’s true identity. The truth is usually revealed at the climax of the tale.

Exotic SettingRomances are set in imaginary kingdoms with great castles, enchanted lakes, and forests populated with giants and monsters.

A QuestThe hero of a romance often proves his worth by undertaking a quest, a journey motivated by love, religious faith, or a desire for adventure. He must overcome many obstacles on this quest.

Episodic StructureRomances are not tightly structured; characters simply go from one adventure to the next.

ChivalryThe code of chivalry required that a knight• swear allegiance to his lord• fight to uphold Christianity• seek to redress all wrongs• honor truth by word and deed• be faithful to one lady• act with bravery, courtesy, and modestyThese ideals guide the behavior of the knights in the romance literature you will read.

conventions of medieval romance central belief


Text Analysis Workshop


model: conventions of medieval romanceSir Gawain and the Green Knight is a famous romance originally composed in verse. Gawain is a knight of King Arthur’s Round Table. On New Year’s Day, when all are gathered at the court, a giant green knight issues an unusual challenge: any man may strike him with an axe, provided the Green Knight can return the blow a year later. Notice how Gawain responds to the challenge.

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The knight leaped down from his horse and handed the great axe to the king. While Arthur swung it to test its weight, the tall knight waited calmly. He tossed off his cloak, with no sign of fear.

But now Sir Gawain, who had remained quietly in his place at the table, spoke courteously to Arthur: “I beg you, let this contest be mine, dear lord—allow me to take your place. It is not seemly that you, our king, should accept such a challenge when all around you sit the bravest knights in the world. I am the least of them, and my life is worth little. But I am the first to ask. Let me be the one to take this knight’s dare.”

After Gawain accepts the challenge, the Green Knight prepares for Gawain’s blow.

The knight in green bent and pulled his long hair forward over his head, so that his neck was bare. Gawain gripped the weapon with both hands and raised it high over his head. He leaned forward on his left foot, and swung the axe down with such force that it went straight through the neck and bit into the floor. The Green Knight’s head fell to the ground and tumbled toward the high table, where knights and ladies drew back in horror as it rolled.

Yet the bleeding, headless body did not fall! The green man stood up, walked briskly over to his head, and picked it up by the long hair. Then he turned to his horse, caught hold of the bridle, and swung into the saddle, sitting there as easily as if nothing had happened. He held up the head, turning it to face the high table. It opened its red eyes and spoke: “Gawain, Gawain, remember the promise you made before your king and this company. I am the knight of the Green Chapel. Next New Year’s Day you will find me there. If you will look for me, you will find me. Therefore come, or be called coward by all men!”

from Sir Gawain and theGreen �night

Romance retold by Constance Hieatt

Close Read1. Reread Gawain’s speech in

the boxed text. In what ways does he show the traits of a romance hero?

2. What elements of the supernatural are evident in this tale? Cite specific details to support your answer.

3. If he does not meet the Green Knight next New Year’s Day, how will Gawain violate the code of chivalry?



Part 3: Analyze the TextNow you will read two excerpts from works you will study in this unit. Thefirst excerpt is from Antigone (Bn-tGgPE-nC), which tells the story of Oedipus’ grown daughter and her conflict with Creon, her uncle and the king of Thebes. Here, Antigone tells her sister, Ismene, that she intends to bury their brother Polyneices, who died on the battlefield fighting against their country. Burying the dead is a sacred act, but Creon, by law, has forbidden this particular burial.

Ismene. We cannot fight with men, Antigone!The law is strong, we must give in to the lawIn this thing, and in worse. I beg the deadTo forgive me, but I am helpless: I must yieldTo those in authority. And I think it is dangerous businessTo be always meddling.

Antigone. If that is what you think,I should not want you, even if you asked to come.You have made your choice; you can be what you want to be.But I will bury him [our brother]; and if I must die,I say that this crime is holy: I shall lie downWith him in death, and I shall be as dearTo him as he to me. It is the dead,Not the living, who make the longest demands:We die forever. . . . You may do as you like,Since apparently the laws of the gods mean nothing to you.

Ismene. They mean a great deal to me; but I have no strengthTo break laws that were made for the public good.

Antigone. That must be your excuse, I suppose. But as for me,I will bury the brother I love.

Ismene. Antigone, I am so afraid for you!

Antigone. You need not be:You have yourself to consider, after all.

Ismene. But no one must hear of this; you must tell no one!I will keep it a secret, I promise!

Antigone. Oh tell it! Tell everyone!Think how they’ll hate you when it all comes outIf they learn that you knew about it all the time!

Ismene. So fiery! You should be cold with fear.

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NTIGONE

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from

Tragedy by Sophocles, translated by Dudley Fitts and Robert Fitzgerald, Lines 47–72

Close Read 1. Reread the boxed text.

What is Antigone’s motivation for wanting to bury her brother?

2. What contrasting Greek social values are represented through the argument between Antigone and Ismene?

3. What traits of a tragic hero does Antigone exhibit? In your opinion, does she seem to have a tragic flaw? Explain.

4. A fearful Ismene hints that Antigone will have to face the terrible consequences of her future actions. What tragic outcome do you predict?


Text Analysis Workshop


Merlin accompanied Arthur to the well, and when they arrived they found King Pellinore seated outside his pavilion. “Sir,” said Arthur, “it would seem that no knight can pass this well without your challenging him.”

“That is so,” said King Pellinore.“I have come to force you to change this custom of yours, so defend yourself!”They jousted three times, each time breaking their spears, until the third

time, when Arthur was flung from his horse. “Very well,” said Arthur, “you have won the advantage jousting; now let us see what you can do on foot.” King Pellinore was reluctant to dismount and lose the advantage he had won; however, when Arthur rushed at him boldly with drawn sword, he grew ashamed and did dismount.

They fought until both collapsed from pain and exhaustion; their armor was splintered and the blood flowed from their wounds. They fought again, until Arthur’s sword broke in his hand. “Now,” said King Pellinore, “you shall yield to me, or die.”

“Not so!” Arthur shouted as he sprang at him, and grabbing him around the waist, threw him to the ground. Arthur was unlacing his helmet when, with a sudden fearful effort, King Pellinore overturned Arthur and clambered on top of him. King Pellinore had loosened Arthur’s helmet and raised his sword to strike off his head when Merlin spoke.

“Hold your hand!” he said; “you will endanger the whole realm. You do not realize who it is you are about to kill.”

“Who is it, then?”“King Arthur.”Hearing this, King Pellinore feared that he would receive little mercy from

Arthur if he spared him—so he raised his sword once more. Merlin adroitly put him to sleep with a magic spell.

“You have killed him with your magic,” said Arthur hotly. “I would rather that my whole realm were lost, and myself killed; he was a magnificent fighter.”

“He is more whole than you are,” Merlin replied. “He will not only live, but serve you excellently: It is to him that you will give your sister in marriage, and she will bear two sons—Sir Percivale and Sir Lamerok—who will be two of the most famous of the Knights of the Round Table.”

This excerpt is from Le Morte d’Arthur, a 15th-century English collection of Arthurian romances. Here, King Arthur discovers that King Pellinore has injured a young knight. Angered, Arthur challenges King Pellinore to a joust, a form of medieval combat in which two mounted knights armed with long spears try to unseat each other from their horses. Merlin, a prophet and magician, has accompanied Arthur to the challenge.

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from Le Morte d’ArthurRomance by Sir Thomas Malory, retold by Keith Baines

Close Read1. The code of chivalry

required that knights act with bravery and courtesy. How are these qualities reflected in Arthur’s and Pellinore’s behavior and actions? Support your answer with specific details.

2. What common characteristic of medieval romance is revealed in the boxed lines?

3. How does the supernatural play a role in the story? Is it a force for good or evil?

4. Which knight—Pellinore or Arthur—displays more qualities of a romance hero? Cite details from the excerpt to support your opinion.


Religious Origins The drama of ancient Greece and Rome is referred to as classical drama. It arose in Athens from religious celebrations in honor of the Greek god Dionysus (dFQE-nFPsEs). These celebrations included ritual chants and songs performed by a group called a chorus. Drama evolved from these celebrations during the sixth century b.c., when individual actors began entering into dialogue with the chorus to tell a story.

The Theater Greek drama was fi lled with the spectacle and pageantry of a religious festival. Attended by thousands, plays were performed during the day in an outdoor theater with seats built into a hillside. The action of each play was presented at the foot of the hill, often on a raised platform. A long building, called the skene, served as a backdrop for the action and as a dressing room. A spacious fl oor, the orchestra, was located between the skene and the audience, who sat in the theatron.

Actors and Chorus The actors—all men—wore elegant robes, huge masks, and often elevated shoes, all of which added to the grandeur of the spectacle. Sophocles (sJfPE-klCzQ), an innovator in classical drama, used three actors in his plays;

between scenes, they changed costumes and masks when they needed to portray different characters. The chorus—a group of about 15—commented on the action, and the leader of the chorus, the choragus (kE-rAPgEs), participated in the dialogue. Between scenes, the chorus sang and danced to musical accompaniment in the orchestra, giving insights into the message of the play. The chorus has often been considered a kind of ideal spectator, representing the response of ordinary citizens to the events unfolding in the play. Typically, the chorus communicated the values, beliefs, and ideals that were central to Athenian society.

Tragedy and the Tragic Hero During Sophocles’ lifetime, three playwrights were chosen each year to enter a theatrical competition in the festival of Dionysus. Each playwright would produce three tragedies, along with a satyr (sAPtEr) play, a short comic interlude. As you recall, a tragedy is a drama that recounts the downfall of a dignifi ed, superior character—a tragic hero—who is involved in

Masked chorus in a production of a classical Greek drama

Greek drama was fi rst performed at festivals honoring Dionysus, depictedin this sculpture.

greek dramaCLASSICAL


RL 6 Analyze a particular point of view or cultural experience reflected in a work of world literature. RL 9 Analyze how an author draws on and transforms source material in a specific work.

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THE GREEK THEATER

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This illustration shows what scholars believe a Greek theater looked like.

skene

orchestra

theatron

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historically or socially signifi cant events. The philosopher Aristotle was the fi rst to defi ne tragedy, theorizing that the form evokes both pity and fear in audiences—pity because they feel sorry for the tragic hero, fear because they realize that the hero’s struggles are perhaps a necessary part of human life. Tragedies often included archetypes, frequently used characters or events, and motifs, repeating elements that advanced the plot and illustrated the theme. At the end of a tragedy, an audience generally feels a sense of waste because a person who is in some way superior has been destroyed. Aristotle based his ideas about tragedy on Sophocles’ Oedipus the King, which he considered the perfect tragedy. Other Greek tragedies, such as Antigone, may not fi t his model so perfectly.

Mythological Sources The subjects of Greek tragedy are myths and legends that were very familiar to a Greek audience. Myths, as you may know, are traditional stories about gods and goddesses; legends are stories about people believed to have once lived. Gods and goddesses are often characters in tragedies, and even when they do not appear on stage, they infl uence the fates of human characters. Usually a tragic hero’s downfall is the result of having offended

the gods. The gods’ wishes are frequently made known through specially gifted characters—such as the blind prophet Teiresias in Antigone—who communicate with the gods. Because the myths and legends were so familiar, often employing archetypal characters and events, the audience already knew the outcome of events and could realize the signifi cance of words and actions the characters were blind to. When the audience knows more than the characters do, the result is dramatic irony.

Greek Deities Some knowledge of Greek deities is needed to understand classical drama, as the dialogue is fi lled with allusions, or references, to gods and rituals. The ancient Greeks believed that their gods ruled the world from the top of Mount Olympus, Greece’s highest mountain. The gods’ ruler was Zeus, whose weapons were thunderbolts. Other deities included Ares, the god of war; Aphrodite, the goddess of love and beauty; Athena, the goddess of wisdom, for whom Athens was named; and Dionysus, the god of wine and fertility in whose honor dramas were fi rst performed. The characters in tragedies honor and fear their gods and struggle to live in proper relationship to them. These characters’ struggles continue to fascinate audiences today.

classical greek drama 1065

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Before Reading

Do you feel more loyal to your family or your friends? to yourself or your country? Which of these gets your greatest loyalty?

DISCUSS Rank the principles shown on the list in order of their importance to you. Imagine situations that might bring these principles into conflict and think about which you would choose. With a small group, discuss your rankings and your reasoning.

What is your ultimate LOYALTY?

AntigoneDrama by Sophocles

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loyalty to familyobedience to civil lawprotection of nationprotection of personal dignity

RL 1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. RL 2 Determine a theme or central idea of a text. RL 3 Analyze how complex characters with conflicting motivations develop, interact with others, and advance the plot or develop the theme. RL 10 Read and comprehend dramas.

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Background

Complete the activities in your Reader/Writer Notebook.

Sophocles496?–406 B. C.Doomed King Sophocles was one of the great dramatists of ancient Greece, and his play Antigone is regarded as one of the finest examples of classical Greek tragedy. Along with Oedipus the King and Oedipus at Colonus, it is part of Sophocles’ Theban trilogy. These three plays are based on the legend of Oedipus (DdPE-pEs), the doomed Theban king who unknowingly killed his father and married his mother. Antigone (Bn-tGgPE-nC) is the daughter of Oedipus.

Family Feud As the play begins, Antigone and her sister, Ismene (Gs-mCPnC), recall their dead father. Upon discovering the truth about his marriage, Oedipus blinded himself and went into exile, where he was cared for by his two daughters until his death. His sons, Eteocles (G-tCPE-klCzQ) and Polyneices (pJlQE-nFPsCz), agreed to share the kingship of Thebes, ruling in alternate years. However, after Eteocles had served his first term as king, he refused to relinquish the throne to Polyneices, claiming that Polyneices was unfit to rule. Polyneices then enlisted an army from Argos, a long-standing enemy of Thebes, to fight his brother. In the course of battle, the brothers killed each other. Their uncle, Creon, who has become king, now faces the task of restoring order in Thebes. He plans to honor one corpse and dishonor the other.

text analysis: classical dramaKeep these characteristics of classical drama in mind as you read Sophocles’ Antigone:

• A major form of classical drama is the tragedy, which recounts the downfall of a dignified, superior character—a tragic hero. The tragic hero may have archetypal elements, or elements that appear over and over again in literature. An error or weakness—the hero’s tragic flaw—may contribute to his or her ruin.

• An important element of classical drama is the chorus, a group of actors who comment on the action in the play. Their leader is the choragus.

• Dramatic irony—the audience’s awareness of things the characters do not know—is often present in classical drama.

Review: Character, Conflict, Theme

reading strategy: reading classical dramaUse the following strategies to help you understand Antigone:

• Visualize the staging of the play, with its masked actors.• Clarify unfamiliar references by using the marginal notes.• Infer the traits, values, and motivations of the two main

characters, Antigone and Creon. Evaluate these characters, who are in conflict.

• Relate the songs of the chorus to the action of the play. Use a chart to record notes about the song the chorus sings at the end of each scene.

Summary of Song

Polyneices attacked Thebes

but was defeated.

Function of Song

gives background for Creon’s

order not to bury Polyneices

Parodos

Ode 1

vocabulary in contextDefine each vocabulary word you’re familiar with. After reading the play, define the words that were unfamiliar.

word list

anarchistauspiciouscontemptdefile

impassivelyinsolencelamentationperverse

reverencesatesententiouslytransgress

yneices thenrmy from

g-standingebes, to ther. In f battle, killed

Their uncle, has become ces the ring order in plans to orpser the

Go to thinkcentral.com. KEYWORD: HML10-1067

Author Online

antigone 1067

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NTIGONE

prologue

(Antigone and Ismene enter from the central door of the palace.)Antigone. Ismene, dear sister,You would think that we had already suffered enoughFor the curse on Oedipus:I cannot imagine any griefThat you and I have not gone through. And now— Have they told you the new decree of our king Creon?

Ismene. I have heard nothing: I knowThat two sisters lost two brothers, a double deathIn a single hour; and I know that the Argive armyFled in the night; but beyond this, nothing.

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9 Argive (ärPjFvQ): of Argos.

Martha Henry as Antigone and Philip Bosco as Creon in the Lincoln Center Repertory 1971 production


CAST OF CHARACTERSAntigone, daughter of Oedipus, former king of Thebes

Ismene, daughter of Oedipus

Creon (krCPJnQ), king of Thebes, uncle of Antigone and Ismene

Haemon (hCPmJnQ), Creon’s son, engaged to Antigone

Eurydice (yM-rGdPG-sC), wife of Creon

Teiresias (tF-rCPsC-Es), a blind prophet

Chorus, made up of about 15 elders of Thebes

Choragus, leader of the chorus

A SentryA Messenger

SCENEBefore the palace of Creon, king of Thebes. A central double door, and two doors at the side. A platform extends the length of the stage, and from this platform three steps lead down into the orchestra, or chorus ground.

TIMEDawn of the day after the repulse of the Argive army from the assault on Thebes

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Antigone. I thought so. And that is why I wanted youTo come out here with me. There is something we must do.

Ismene. Why do you speak so strangely?

Antigone. Listen, Ismene:Creon buried our brother EteoclesWith military honors, gave him a soldier’s funeral,And it was right that he should; but Polyneices,Who fought as bravely and died as miserably—They say that Creon has swornNo one shall bury him, no one mourn for him,But his body must lie in the fields, a sweet treasureFor carrion birds to find as they search for food.That is what they say, and our good Creon is coming hereTo announce it publicly; and the penalty—Stoning to death in the public square! There it is,And now you can prove what you are:A true sister, or a traitor to your family.

Ismene. Antigone, you are mad! What could I possibly do?

Antigone. You must decide whether you will help me or not.

Ismene. I do not understand you. Help you in what?

Antigone. Ismene, I am going to bury him. Will you come?

Ismene. Bury him! You have just said the new law forbids it.

Antigone. He is my brother. And he is your brother, too.

Ismene. But think of the danger! Think what Creon will do!

Antigone. Creon is not strong enough to stand in my way.

Ismene. Ah sister!Oedipus died, everyone hating himFor what his own search brought to light, his eyesRipped out by his own hand; and Jocasta died,His mother and wife at once: she twisted the cordsThat strangled her life; and our two brothers died,Each killed by the other’s sword. And we are left:But oh, Antigone,Think how much more terrible than theseOur own death would be if we should go against CreonAnd do what he has forbidden! We are only women;We cannot fight with men, Antigone!The law is strong, we must give in to the lawIn this thing, and in worse. I beg the deadTo forgive me, but I am helpless: I must yieldTo those in authority. And I think it is dangerous businessTo be always meddling.

20–22 No one shall bury . . . search for food: The obligation to bury the dead with appropriate rites was considered sacred by the ancient Greeks. They believed that the soul of someone left unburied would never find peace.

39 Jocasta (jI-kBsPtE): the mother of Antigone and Ismene. Jocasta hanged herself when she realized the truth about her relationship with Oedipus.

Language CoachFixed Expressions Some verbs take on a special meaning when followed by a particular adverb. Reread lines 48–49. What does give in mean in these lines? What clue does line 47 provide?


RL 4


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Antigone. If that is what you think,I should not want you, even if you asked to come.You have made your choice; you can be what you want to be.But I will bury him; and if I must die,I say that this crime is holy: I shall lie downWith him in death, and I shall be as dearTo him as he to me. a It is the dead,Not the living, who make the longest demands:We die forever. . . . You may do as you like,Since apparently the laws of the gods mean nothing to you.

Ismene. They mean a great deal to me; but I have no strengthTo break laws that were made for the public good.

Antigone. That must be your excuse, I suppose. But as for me,I will bury the brother I love.

a

CONFLICTNote the seriousness of the conflict that is introduced. What is Antigone going to do, and what may happen to her as a result?

Tandy Cronyn as Ismene and Martha Henry as Antigone in the Lincoln Center Repertory 1971 production

antigone 1071


Ismene. Antigone,I am so afraid for you!

Antigone. You need not be:You have yourself to consider, after all.

Ismene. But no one must hear of this; you must tell no one!I will keep it a secret, I promise!

Antigone. Oh tell it! Tell everyone!Think how they’ll hate you when it all comes outIf they learn that you knew about it all the time!

Ismene. So fiery! You should be cold with fear.

Antigone. Perhaps. But I am doing only what I must.

Ismene. But can you do it? I say that you cannot.

Antigone. Very well: when my strength gives out, I shall do no more.

Ismene. Impossible things should not be tried at all.

Antigone. Go away, Ismene:I shall be hating you soon, and the dead will too,For your words are hateful. Leave me my foolish plan:I am not afraid of the danger; if it means death,It will not be the worst of deaths—death without honor.

Ismene. Go then, if you feel that you must.You are unwise,But a loyal friend indeed to those who love you. b

(Exit into the palace. Antigone goes off, left. Enters the Chorus, with Choragus.)

parodos

Chorus. Now the long blade of the sun, lyingLevel east to west, touches with gloryThebes of the Seven Gates. Open, unliddedEye of golden day! O marching lightAcross the eddy and rush of Dirce’s stream, Striking the white shields of the enemyThrown headlong backward from the blaze of morning!

Choragus. Polyneices their commanderRoused them with windy phrases,He the wild eagle screamingInsults above our land,

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5 Dirce’s (dûrPsCz) stream: a stream flowing past Thebes. The stream is named for a murdered queen who was thrown into it.

Parodos (pBrPE-dJsQ): a song that marks the entry of the chorus, which represents the leading citizens of Thebes.

b

CHARACTERSo far, what have you learned about Antigone, the protagonist of the play? How would you contrast her with her sister, Ismene?



His wings their shields of snow,His crest their marshaled helms.

Chorus. Against our seven gates in a yawning ringThe famished spears came onward in the night;But before his jaws were sated with our blood,Or pine fire took the garland of our towers,He was thrown back; and as he turned, great Thebes—No tender victim for his noisy power—Rose like a dragon behind him, shouting war.

Choragus. For God hates utterlyThe bray of bragging tongues;And when he beheld their smiling,Their swagger of golden helms,The frown of his thunder blastedTheir first man from our walls.

Chorus. We heard his shout of triumph high in the airTurn to a scream; far out in a flaming arcHe fell with his windy torch, and the earth struck him.And others storming in fury no less than hisFound shock of death in the dusty joy of battle.

Choragus. Seven captains at seven gatesYielded their clanging arms to the godThat bends the battle line and breaks it.These two only, brothers in blood,Face to face in matchless rage,Mirroring each the other’s death,Clashed in long combat.

Chorus. But now in the beautiful morning of victoryLet Thebes of the many chariots sing for joy!With hearts for dancing we’ll take leave of war:Our temples shall be sweet with hymns of praise,And the long night shall echo with our chorus. c

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32–34 When the seven captains were killed, their armor was offered as a sacrifice to Ares (ârPCz), the god of war.

21–26 Zeus, the king of the gods, threw a thunderbolt, which killed the first Argive attacker.

14–15 seven gates: Thebes had seven gates, which the Argives attacked all at once.

sate (sAt) v. to satisfy fully

c

READING CLASSICAL DRAMASummarize the background information that the chorus gives in its song. How does the chorus view Polyneices?

antigone 1073


SCENE 1Choragus. But now at last our new king is coming:Creon of Thebes, Menoeceus’ son.In this auspicious dawn of his reignWhat are the new complexitiesThat shifting Fate has woven for him?What is his counsel? Why has he summonedThe old men to hear him?

(Enter Creon from the palace. He addresses the Chorus from the top step.)Creon. Gentlemen: I have the honor to inform you that our ship of state, which recent storms have threatened to destroy, has come safely to harbor at last, guided by the merciful wisdom of heaven. I have summoned you here this morning because I know that I can depend upon you: your devotion to King Laius was absolute; you never hesitated in your duty to our late ruler Oedipus; and when Oedipus died, your loyalty was transferred to his children. Unfortunately, as you know, his two sons, the princes Eteocles and Polyneices, have killed each other in battle; and I, as the next in blood, have succeeded to the full power of the throne.

I am aware, of course, that no ruler can expect complete loyalty from his subjects until he has been tested in office. Nevertheless, I say to you at the very outset that I have nothing but contempt for the kind of governor who is afraid, for whatever reason, to follow the course that he knows is best for the state; and as for the man who sets private friendship above the public welfare—I have no use for him, either. I call God to witness that if I saw my country headed for ruin, I should not be afraid to speak out plainly; and I need hardly remind you that I would never have any dealings with an enemy of the people. No one dvalues friendship more highly than I; but we must remember that friends made at the risk of wrecking our ship are not real friends at all. e

These are my principles, at any rate, and that is why I have made the following decision concerning the sons of Oedipus: Eteocles, who died as a man should die, fighting for his country, is to be buried with full military honors, with all the ceremony that is usual when the greatest heroes die; but his brother Polyneices, who broke his exile to come back with fire and sword against his native city and the shrines of his fathers’ gods, whose one idea was to spill the blood of his blood and sell his own people into slavery—Polyneices, I say, is to have no burial: no man is to touch him or say the least prayer for him; he shall lie on the plain, unburied; and the birds and the scavenging dogs can do with him whatever they like.

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contempt (kEn-tDmptP) n. an attitude of regarding someone or something as worthless or inferior

12 Laius (lAPEs): the father of Oedipus.

2 Menoeceus’ (mE-nCPsyMs).

auspicious (ô-spGshPEs) adj. promising success; favorable

e

CHARACTERThis speech introduces Creon, who acts as Antigone’s antagonist. According to him, what deserves the highest loyalty? Read on to learn his motives for forbidding Polyneices’ burial.

Philip Bosco as Creon in the Lincoln Center Repertory 1971 production

d

MOTIFS IN DRAMA A motif is an element or concept expressed by the characters throughout a play that helps develop the plot and theme. Although this is only the first scene of Antigone, the idea of treachery versus loyalty has appeared several times. How do you think this motif might affect the plot?


RL 3



This is my command, and you can see the wisdom behind it. As long as I am king, no traitor is going to be honored with the loyal man. But whoever shows by word and deed that he is on the side of the state—he shall have my respect while he is living, and my reverence when he is dead.

Choragus. If that is your will, Creon son of Menoeceus,You have the right to enforce it: we are yours.

Creon. That is my will. Take care that you do your part.

Choragus. We are old men: let the younger ones carry it out.

Creon. I do not mean that: the sentries have been appointed.

Choragus. Then what is it that you would have us do?

Creon. You will give no support to whoever breaks this law.

Choragus. Only a crazy man is in love with death!

Creon. And death it is; yet money talks, and the wisestHave sometimes been known to count a few coins too many.

(Enter Sentry.)

Sentry. I’ll not say that I’m out of breath from running, King, because every time I stopped to think about what I have to tell you, I felt like going back. And all the time a voice kept saying, “You fool, don’t you know you’re walking straight into trouble?”; and then another voice: “Yes, but if you let somebody else get the news to Creon first, it will be even worse than that for you!” But good sense won out, at least I hope it was good sense, and here I am with a story that makes no sense at all; but I’ll tell it anyhow, because, as they say, what’s going to happen’s going to happen, and—

Creon. Come to the point. What have you to say?

Sentry. I did not do it. I did not see who did it. You must not punish me for what someone else has done.

Creon. A comprehensive defense! More effective, perhaps,If I knew its purpose. Come: what is it?

Sentry. A dreadful thing . . . I don’t know how to put it—

Creon. Out with it!

Sentry. Well, then;The dead man— Polyneices—

(Pause. The Sentry is overcome, fumbles for words. Creon waits impassively.) out there— someone—New dust on the slimy flesh!

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reverence (rDvPEr-Ens) n. awe and respect

impassively (Gm-pBsPGv-lC) adv. in a way that shows no emotion or feeling



(Pause. No sign from Creon.)

Someone has given it burial that way, andGone. . . .

(Long pause. Creon finally speaks with deadly control.)Creon. And the man who dared do this? f

Sentry. I swear IDo not know! You must believe me! Listen:The ground was dry, not a sign of digging, no,Not a wheel track in the dust, no trace of anyone.It was when they relieved us this morning: and one of them,The corporal, pointed to it. There it was,The strangest— Look:The body, just mounded over with light dust: you see?Not buried really, but as if they’d covered itJust enough for the ghost’s peace. And no signOf dogs or any wild animal that had been there.

And then what a scene there was! Every man of usAccusing the other: we all proved the other man did it;We all had proof that we could not have done it.We were ready to take hot iron in our hands,Walk through fire, swear by all the gods,It was not I!I do not know who it was, but it was not I!(Creon’s rage has been mounting steadily, but the Sentry is too intent upon his story to notice it.)And then, when this came to nothing, someone saidA thing that silenced us and made us stareDown at the ground: you had to be told the news,And one of us had to do it! We threw the dice,And the bad luck fell to me. So here I am,No happier to be here than you are to have me:Nobody likes the man who brings bad news. g

Choragus. I have been wondering, King: can it be that the gods have done this? h

Creon (furiously). Stop!Must you doddering wrecksGo out of your heads entirely? “The gods!”Intolerable!The gods favor this corpse? Why? How had he served them?

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f

CLASSICAL DRAMAWho do you think buried the body? Note the dramatic irony arising from Creon’s assumption that the person who buried the body was a man.

g

CHARACTERNotice how the sentry, a minor character, relates to Creon. What does his attitude tell you about Creon?

h

CLASSICAL DRAMAThe choragus poses a reasonable question. Judge Creon’s response, noting what attitude he shows toward the gods.

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Tried to loot their temples, burn their images,Yes, and the whole state, and its laws with it!Is it your senile opinion that the gods love to honor bad men?A pious thought!— No, from the very beginningThere have been those who have whispered together,Stiff-necked anarchists, putting their heads together,Scheming against me in alleys. These are the men,And they have bribed my own guard to do this thing.(sententiously) Money!There’s nothing in the world so demoralizing as money.Down go your cities,Homes gone, men gone, honest hearts corrupted,Crookedness of all kinds, and all for money!

(to Sentry) But you—!I swear by God and by the throne of God,The man who has done this thing shall pay for it!Find that man; bring him here to me, or your deathWill be the least of your problems: I’ll string you upAlive, and there will be certain ways to make youDiscover your employer before you die;And the process may teach you a lesson you seem to have missed:The dearest profit is sometimes all too dear.That depends on the source. Do you understand me?A fortune won is often misfortune.

Sentry. King, may I speak?

Creon. Your very voice distresses me.

Sentry. Are you sure that it is my voice, and not your conscience?

Creon. By God, he wants to analyze me now!

Sentry. It is not what I say, but what has been done, that hurts you.

Creon. You talk too much.

Sentry. Maybe; but I’ve done nothing.

Creon. Sold your soul for some silver: that’s all you’ve done.

Sentry. How dreadful it is when the right judge judges wrong!

Creon. Your figures of speechMay entertain you now; but unless you bring me the man,You will get little profit from them in the end. i

(Exit Creon into the palace.)Sentry. “Bring me the man”—!I’d like nothing better than bringing him the man!But bring him or not, you have seen the last of me here.At any rate, I am safe!

(Exit Sentry.)

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sententiously (sDn-tDnPshEs-lC) adv. in a pompous, moralizing manner

anarchist (BnPEr-kGst) n. a person favoring the overthrow of government

i

CHARACTERWhat do you think of Creon so far? What seem to be his virtues? his flaws?

Language CoachDenotations/Connotations The feelings associated with a word are its connotations. Some words can have either a positive or a negative connotation, depending on context. Sometimes writers use the same word in different ways for effect. In line 128, how are the connotations of dearest different from those of dear?


RL 4


ode 1

Chorus. Numberless are the world’s wonders, but none jMore wonderful than man; the storm-grey seaYields to his prows; the huge crests bear him high;Earth, holy and inexhaustible, is gravenWith shining furrows where his plows have goneYear after year, the timeless labor of stallions.

The light-boned birds and beasts that cling to cover,The lithe fish lighting their reaches of dim water,All are taken, tamed in the net of his mind;The lion on the hill, the wild horse windy-maned,Resign to him; and his blunt yoke has brokenThe sultry shoulders of the mountain bull.

Words also, and thought as rapid as air,He fashions to his good use; statecraft is his,And his the skill that deflects the arrows of snow,The spears of winter rain: from every windHe has made himself secure—from all but one:In the late wind of death he cannot stand.

O clear intelligence, force beyond all measure!O fate of man, working both good and evil!When the laws are kept, how proudly his city stands!When the laws are broken, what of his city then?Never may the anarchic man find rest at my hearth,Never be it said that my thoughts are his thoughts. k

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Ode: a song chanted by the chorus.

j

GRAMMAR AND STYLEReread line 1 of the ode. Notice how the subject wonders comes after, rather than before, the verb are. Writers sometimes use inverted sentences like this to add variety or emphasis to their writing.

k

READING CLASSICAL DRAMAIn your chart, summarize the message that this choral ode conveys about human beings. How would you relate the ode to the preceding scene?

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SCENE 2(Reenter Sentry leading Antigone.)

Choragus. What does this mean? Surely this captive womanIs the princess, Antigone. Why should she be taken?

Sentry. Here is the one who did it! We caught herIn the very act of burying him. Where is Creon?

Choragus. Just coming from the house.

(Enter Creon, center.)Creon. What has happened?Why have you come back so soon?

Sentry (expansively). O King,A man should never be too sure of anything: aI would have swornThat you’d not see me here again: your angerFrightened me so, and the things you threatened me with;But how could I tell thenThat I’d be able to solve the case so soon?

No dice throwing this time: I was only too glad to come!

Here is this woman. She is the guilty one:We found her trying to bury him.

Take her, then; question her; judge her as you will.I am through with the whole thing now, and glad of it.

Creon. But this is Antigone! Why have you brought her here?

Sentry. She was burying him, I tell you!

Creon (severely). Is this the truth?

Sentry. I saw her with my own eyes. Can I say more?

Creon. The details: come, tell me quickly!

Sentry. It was like this:After those terrible threats of yours, King,We went back and brushed the dust away from the body.The flesh was soft by now, and stinking,So we sat on a hill to windward and kept guard.No napping this time! We kept each other awake.But nothing happened until the white round sunWhirled in the center of the round sky over us:Then, suddenly,A storm of dust roared up from the earth, and the skyWent out, the plain vanished with all its trees

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CLASSICAL DRAMAReread line 7, and note the dramatic irony. How might the sentry’s statement that “a man should never be too sure of anything” apply to Creon?



NA_L10PE-u10s1-anti2.indd 1080NA_L10PE-u10s1-anti2.indd 1080 12/27/10 11:45:30 PM12/27/10 11:45:30 PM


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In the stinging dark. We closed our eyes and endured it.The whirlwind lasted a long time, but it passed;And then we looked, and there was Antigone!I have seenA mother bird come back to a stripped nest, heardHer crying bitterly a broken note or twoFor the young ones stolen. Just so, when this girlFound the bare corpse, and all her love’s work wasted,She wept, and cried on heaven to damn the handsThat had done this thing.

And then she brought more dustAnd sprinkled wine three times for her brother’s ghost.

We ran and took her at once. She was not afraid,Not even when we charged her with what she had done.She denied nothing. And this was a comfort to me,And some uneasiness: for it is a good thingTo escape from death, but it is no great pleasureTo bring death to a friend. b Yet I always sayThere is nothing so comfortable as your own safe skin!

Creon (slowly, dangerously). And you, Antigone,You with your head hanging—do you confess this thing?

Antigone. I do. I deny nothing.

Creon (to Sentry). You may go.

(Exit Sentry.)

(to Antigone) Tell me, tell me briefly:Had you heard my proclamation touching this matter?

Antigone. It was public. Could I help hearing it?

Creon. And yet you dared defy the law.

Antigone. I dared.It was not God’s proclamation. That final JusticeThat rules the world below makes no such laws.

Your edict, King, was strong,But all your strength is weakness itself againstThe immortal unrecorded laws of God.They are not merely now: they were, and shall be,Operative forever, beyond man utterly.

I knew I must die, even without your decree:I am only mortal. And if I must dieNow, before it is my time to die,

b

CLASSICAL DRAMAIn classical drama, much of the action takes place offstage and is reported by minor characters. How does the sentry’s speech create sympathy for Antigone?



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Surely this is no hardship: can anyoneLiving, as I live, with evil all about me,Think Death less than a friend? This death of mineIs of no importance; but if I had left my brotherLying in death unburied, I should have suffered.Now I do not. c You smile at me. Ah Creon,Think me a fool, if you like; but it may well beThat a fool convicts me of folly.

Choragus. Like father, like daughter: both headstrong, deaf to reason!She has never learned to yield.

Creon. She has much to learn.The inflexible heart breaks first, the toughest ironCracks first, and the wildest horses bend their necksAt the pull of the smallest curb. Pride? In a slave?This girl is guilty of a double insolence,Breaking the given laws and boasting of it.Who is the man here,She or I, if this crime goes unpunished? dSister’s child, or more than sister’s child,Or closer yet in blood—she and her sisterWin bitter death for this!

(to servants) Go, some of you,Arrest Ismene. I accuse her equally.Bring her: you will find her sniffling in the house there.

Her mind’s a traitor: crimes kept in the darkCry for light, and the guardian brain shudders;But how much worse than thisIs brazen boasting of barefaced anarchy! e

Antigone. Creon, what more do you want than my death?

Creon. Nothing.That gives me everything.

Antigone. Then I beg you: kill me.This talking is a great weariness: your wordsAre distasteful to me, and I am sure that mineSeem so to you. And yet they should not seem so:I should have praise and honor for what I have done.All these men here would praise meWere their lips not frozen shut with fear of you.(bitterly) Ah the good fortune of kings,Licensed to say and do whatever they please! f

c

CHARACTERReread lines 57–72. What does Antigone believe is the supreme law? What is her attitude toward death?

d

CONFLICTHow does Creon’s perception of Antigone as a threat to his manhood heighten the conflict between them?

insolence (FnPsE-lEns) n. rudeness and disrespect

f

THEMEReread lines 99–102. What is Antigone suggesting about the rule of kings and its effect on citizens?

e

MOTIFS IN DRAMA A motif recurs throughout a play, advancing the plot and illuminating the theme. Look back over Antigone so far. How has the motif of treachery versus loyalty affected the characters and events? Who is motivated by loyalty and who by treachery at this point in the play?

antigone 1083

RL 3


Creon. You are alone here in that opinion.

Antigone. No, they are with me. But they keep their tongues in leash.

Creon. Maybe. But you are guilty, and they are not.

Antigone. There is no guilt in reverence for the dead.

Creon. But Eteocles—was he not your brother too?

Antigone. My brother too.

Creon. And you insult his memory?

Antigone (softly). The dead man would not say that I insult it.

Creon. He would: for you honor a traitor as much as him.

Antigone. His own brother, traitor or not, and equal in blood.

Creon. He made war on his country. Eteocles defended it.

Antigone. Nevertheless, there are honors due all the dead.

Creon. But not the same for the wicked as for the just.

Antigone. Ah Creon, Creon,Which of us can say what the gods hold wicked? g

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g

CLASSICAL DRAMAGreek tragedy explores humans’ relationship to the gods. How does Antigone’s thinking about the gods differ from Creon’s thinking?



Creon. An enemy is an enemy, even dead.

Antigone. It is my nature to join in love, not hate.

Creon (finally losing patience). Go join them, then; if you must have your love,Find it in hell!

Choragus. But see, Ismene comes:

(Enter Ismene, guarded.)Those tears are sisterly; the cloudThat shadows her eyes rains down gentle sorrow.

Creon. You too, Ismene,Snake in my ordered house, sucking my bloodStealthily—and all the time I never knewThat these two sisters were aiming at my throne! Ismene, Do you confess your share in this crime or deny it?Answer me.

Ismene. Yes, if she will let me say so. I am guilty.

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Language CoachRoots and Affixes An affix at the end of a word is a suffix. The suffix -ly can form either an adjective (modifying a noun) or an adverb (modifying a verb, adjective, or other adverb). Find both uses of -ly in lines 121–127.

antigone 1085

RL 4


Antigone (coldly). No, Ismene. You have no right to say so.You would not help me, and I will not have you help me.

Ismene. But now I know what you meant; and I am hereTo join you, to take my share of punishment.

Antigone. The dead man and the gods who rule the deadKnow whose act this was. Words are not friends.

Ismene. Do you refuse me, Antigone? I want to die with you:I too have a duty that I must discharge to the dead.

Antigone. You shall not lessen my death by sharing it.

Ismene. What do I care for life when you are dead?

Antigone. Ask Creon. You’re always hanging on his opinions.

Ismene. You are laughing at me. Why, Antigone?

Antigone. It’s a joyless laughter, Ismene.

Ismene. But can I do nothing?

Antigone. Yes. Save yourself. I shall not envy you.There are those who will praise you; I shall have honor, too.

Ismene. But we are equally guilty!

Antigone. No, more, Ismene.You are alive, but I belong to Death. h

Creon (to the Chorus). Gentlemen, I beg you to observe these girls:One has just now lost her mind; the other,It seems, has never had a mind at all.

Ismene. Grief teaches the steadiest minds to waver, King.

Creon. Yours certainly did, when you assumed guilt with the guilty!

Ismene. But how could I go on living without her?

Creon. You are.She is already dead.

Ismene. But your own son’s bride!

Creon. There are places enough for him to push his plow.I want no wicked women for my sons!

Ismene. O dearest Haemon, how your father wrongs you! i

Creon. I’ve had enough of your childish talk of marriage!

Choragus. Do you really intend to steal this girl from your son?

Creon. No; Death will do that for me.

Choragus. Then she must die?

Creon. You dazzle me. —But enough of this talk!

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h

CHARACTERWhat does Antigone’s treatment of her sister reveal about her character?

i

CONFLICTIsmene reveals that Antigone is engaged to Creon’s son Haemon. What new issues could arise from the conflict between Antigone and Creon?



(to guards) You, there, take them away and guard them well:For they are but women, and even brave men runWhen they see Death coming.

(Exeunt Ismene, Antigone, and guards.)

ode 2

Chorus. Fortunate is the man who has never tasted God’s vengeance!Where once the anger of heaven has struck, that house is shakenForever: damnation rises behind each childLike a wave cresting out of the black northeast,When the long darkness under sea roars upAnd bursts drumming death upon the wind-whipped sand.

I have seen this gathering sorrow from time long pastLoom upon Oedipus’ children: generation from generationTakes the compulsive rage of the enemy god.So lately this last flower of Oedipus’ lineDrank the sunlight! but now a passionate wordAnd a handful of dust have closed up all its beauty. j

What mortal arroganceTranscends the wrath of Zeus?

Sleep cannot lull him, nor the effortless long monthsOf the timeless gods: but he is young forever,And his house is the shining day of high Olympus.

All that is and shall be,And all the past, is his.

No pride on earth is free of the curse of heaven.

The straying dreams of menMay bring them ghosts of joy:

But as they drowse, the waking embers burn them;Or they walk with fixed eyes, as blind men walk.But the ancient wisdom speaks for our own time: Fate works most for woe With Folly’s fairest show.Man’s little pleasure is the spring of sorrow. k

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READING CLASSICAL DRAMAJudging from this choral ode, how do the gods feel toward the family of Oedipus? Make notes in your chart.

k

READING CLASSICAL DRAMAExplain the last three lines of the ode. Whom do you think these lines apply to?

antigone 1087


SCENE 3Choragus. But here is Haemon, King, the last of all your sons.Is it grief for Antigone that brings him here,And bitterness at being robbed of his bride?

(Enter Haemon.)

Creon. We shall soon see, and no need of diviners. —Son,You have heard my final judgment on that girl:Have you come here hating me, or have you comeWith deference and with love, whatever I do?

Haemon. I am your son, Father. You are my guide.You make things clear for me, and I obey you.No marriage means more to me than your continuing wisdom.

Creon. Good. That is the way to behave: subordinateEverything else, my son, to your father’s will.This is what a man prays for, that he may getSons attentive and dutiful in his house,Each one hating his father’s enemies,Honoring his father’s friends. But if his sonsFail him, if they turn out unprofitably,What has he fathered but trouble for himselfAnd amusement for the malicious? a So you are rightNot to lose your head over this woman.Your pleasure with her would soon grow cold, Haemon,And then you’d have a hellcat in bed and elsewhere.Let her find her husband in hell!Of all the people in this city, only sheHas had contempt for my law and broken it.

Do you want me to show myself weak before the people?Or to break my sworn word? No, and I will not.The woman dies.

I suppose she’ll plead “family ties.” Well, let her.If I permit my own family to rebel,How shall I earn the world’s obedience?Show me the man who keeps his house in hand,He’s fit for public authority. I’ll have no dealingsWith lawbreakers, critics of the government:Whoever is chosen to govern should be obeyed—Must be obeyed, in all things, great and small,

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4 diviners (dG-vFPnErz): those who predict the future.

a

THEMEReread lines 11–19. What is Creon’s view of family relationships?

Philip Bosco as Creon in the Lincoln Center Repertory 1971 production

Language CoachOral Fluency Many words can be either nouns or verbs. In some cases, as in permit, the noun’s stress is on the fi rst syllable, while the verb’s stress is on the second. Reread line 30. Choose the correct pronunciation for the two verbs in the line.




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Just and unjust! O Haemon,The man who knows how to obey, and that man only,Knows how to give commands when the time comes.You can depend on him, no matter how fastThe spears come: he’s a good soldier; he’ll stick it out.

Anarchy, anarchy! Show me a greater evil!This is why cities tumble and the great houses rain down;This is what scatters armies! b

No, no: good lives are made so by discipline.We keep the laws then, and the lawmakers,And no woman shall seduce us. If we must lose,Let’s lose to a man, at least! Is a woman stronger than we? c

Choragus. Unless time has rusted my wits,What you say, King, is said with point and dignity.

Haemon (boyishly earnest). Father:Reason is God’s crowning gift to man, and you are rightTo warn me against losing mine. I cannot say—I hope that I shall never want to say!—that youHave reasoned badly. Yet there are other menWho can reason, too; and their opinions might be helpful.You are not in a position to know everythingThat people say or do, or what they feel:Your temper terrifies them—everyoneWill tell you only what you like to hear. dBut I, at any rate, can listen; and I have heard themMuttering and whispering in the dark about this girl.They say no woman has ever, so unreasonably,Died so shameful a death for a generous act:“She covered her brother’s body. Is this indecent?She kept him from dogs and vultures. Is this a crime?Death? She should have all the honor that we can give her!”

This is the way they talk out there in the city.

You must believe me:Nothing is closer to me than your happiness.What could be closer? Must not any sonValue his father’s fortune as his father does his?I beg you, do not be unchangeable:Do not believe that you alone can be right.The man who thinks that,

b

THEMEReread lines 35–44. What are Creon’s views about government and his role as king?

c

CONFLICTHow does Creon’s perception of women contribute to his conflict with Antigone?

d

THEMEReread lines 55–60. How do Haemon’s views of government differ from Creon’s?



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The man who maintains that only he has the powerTo reason correctly, the gift to speak, the soul—A man like that, when you know him, turns out empty.

It is not reason never to yield to reason!

In flood time you can see how some trees bend,And because they bend, even their twigs are safe,While stubborn trees are torn up, roots and all.And the same thing happens in sailing:Make your sheet fast, never slacken—and over you go,Head over heels and under: and there’s your voyage. eForget you are angry! Let yourself be moved!I know I am young; but please let me say this:The ideal condition Would be, I admit, that men should be right by instinct;But since we are all too likely to go astray,The reasonable thing is to learn from those who can teach.

Choragus. You will do well to listen to him, King,If what he says is sensible. And you, Haemon,Must listen to your father. Both speak well. f

Creon. You consider it right for a man of my years and experienceTo go to school to a boy?

Haemon. It is not rightIf I am wrong. But if I am young, and right,What does my age matter?

Creon. You think it right to stand up for an anarchist?

Haemon. Not at all. I pay no respect to criminals.

Creon. Then she is not a criminal?

Haemon. The city would deny it, to a man.

Creon. And the city proposes to teach me how to rule?

Haemon. Ah. Who is it that’s talking like a boy now?

Creon. My voice is the one voice giving orders in this city!

Haemon. It is no city if it takes orders from one voice.

Creon. The state is the king!

Haemon. Yes, if the state is a desert. g

(pause)Creon. This boy, it seems, has sold out to a woman.

Haemon. If you are a woman: my concern is only for you.

Creon. So? Your “concern”! In a public brawl with your father!

e

THEMECompare Haemon’s words to Creon with Creon’s words in Scene 2, beginning “The inflexible heart breaks first . . .” (line 77, page 1083). What do both speeches suggest about inflexibility?

f

CLASSICAL DRAMAHow does the choragus respond to Creon’s and Haemon’s arguments? How similar is your response?

g

THEMEInterpret Haemon’s reply.

antigone 1091


Haemon. How about you, in a public brawl with justice?

Creon. With justice, when all that I do is within my rights?

Haemon. You have no right to trample on God’s right.

Creon (completely out of control). Fool, adolescent fool! Taken in by a woman!

Haemon. You’ll never see me taken in by anything vile.

Creon. Every word you say is for her!

Haemon (quietly, darkly). And for you.And for me. And for the gods under the earth.

Creon. You’ll never marry her while she lives.

Haemon. Then she must die. But her death will cause another.

Creon. Another?Have you lost your senses? Is this an open threat? h

Haemon. There is no threat in speaking to emptiness.

Creon. I swear you’ll regret this superior tone of yours!You are the empty one!

Haemon. If you were not my father,I’d say you were perverse.Creon. You girl-struck fool, don’t play at words with me!

Haemon. I am sorry. You prefer silence.

Creon. Now, by God—!I swear, by all the gods in heaven above us,You’ll watch it; I swear you shall! (to the servants) Bring her out!Bring the woman out! Let her die before his eyes,Here, this instant, with her bridegroom beside her!

Haemon. Not here, no; she will not die here, King.And you will never see my face again.Go on raving as long as you’ve a friend to endure you.

(Exit Haemon.) Choragus. Gone, gone.Creon, a young man in a rage is dangerous!

Creon. Let him do, or dream to do, more than a man can.He shall not save these girls from death.

Choragus. These girls?You have sentenced them both?

Creon. No, you are right.I will not kill the one whose hands are clean.

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h

CLASSICAL DRAMANote the dramatic irony. What might Haemon mean? What does Creon think he means?

perverse (pEr-vûrsP) adj. willfully determined to go against what is expected or desired



Choragus. But Antigone?

Creon (somberly). I will carry her far away,Out there in the wilderness, and lock herLiving in a vault of stone. She shall have food,As the custom is, to absolve the state of her death.And there let her pray to the gods of hell:They are her only gods:Perhaps they will show her an escape from death,Or she may learn, though late,That piety shown the dead is pity in vain. i

(Exit Creon.)

ode 3

Chorus. Love, unconquerable jWaster of rich men, keeperOf warm lights and all-night vigilIn the soft face of a girl:Sea wanderer, forest visitor!Even the pure immortals cannot escape you,And mortal man, in his one day’s dusk,Trembles before your glory.

Surely you swerve upon ruinThe just man’s consenting heart,As here you have made bright angerStrike between father and son—And none has conquered but Love!A girl’s glance working the will of heaven:Pleasure to her alone who mocks us,Merciless Aphrodite.

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15 16 Aphrodite (BfQrE-dFPtC): the goddess of love and beauty.

i

CHARACTERWhat do you make of Creon’s decision to bury a person alive when he has refused to bury a person who is dead?

j

READING CLASSICAL DRAMAIn your chart, summarize the message about love expressed in this ode. How does the ode relate to the exchange between Creon and Haemon?

antigone 1093


SCENE 4Choragus (as Antigone enters, guarded ). But I can no longer stand in awe of this,Nor, seeing what I see, keep back my tears.Here is Antigone, passing to that chamberWhere all find sleep at last.

Antigone. Look upon me, friends, and pity meTurning back at the night’s edge to sayGood-bye to the sun that shines for me no longer;Now sleepy DeathSummons me down to Acheron, that cold shore:There is no bride song there, nor any music.

Chorus. Yet not unpraised, not without a kind of honor,You walk at last into the underworld;Untouched by sickness, broken by no sword.What woman has ever found your way to death?

Antigone. How often I have heard the story of Niobe,Tantalus’ wretched daughter, how the stoneClung fast about her, ivy-close: and they sayThe rain falls endlesslyAnd sifting soft snow; her tears are never done.I feel the loneliness of her death in mine.

Chorus. But she was born of heaven, and youAre woman, woman-born. If her death is yours,A mortal woman’s, is this not for youGlory in our world and in the world beyond?

Antigone. You laugh at me. Ah, friends, friends,Can you not wait until I am dead? O Thebes,O men many-charioted, in love with Fortune,Dear springs of Dirce, sacred Theban grove,Be witnesses for me, denied all pity,Unjustly judged! and think a word of loveFor her whose path turnsUnder dark earth, where there are no more tears. a

Chorus. You have passed beyond human daring and come at lastInto a place of stone where Justice sits.I cannot tellWhat shape of your father’s guilt appears in this.

Antigone. You have touched it at last: that bridal bedUnspeakable, horror of son and mother mingling:Their crime, infection of all our family!O Oedipus, father and brother!Your marriage strikes from the grave to murder mine.

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9 Acheron (BkPE-rJnQ): in Greek mythology, one of the rivers bordering the underworld, the place inhabited by the souls of the dead.

15–20 Niobe (nFPE-bC) was a queen of Thebes whose children were killed by the gods because she had boasted that she was greater than a goddess. After their deaths, she was turned to stone but continued to shed tears.

Martha Henry as Antigone in the Lincoln Center Repertory 1971 production

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WORLD LITERATURE Antigone’s figurative language, or language that conveys more than its literal meaning, in this passage reflects the historical and cultural setting of the play. The ancient Greeks had a deep reverence for sacred places, which were sometimes groves of trees or springs. Reread lines 25–32. Why does Antigone call upon these sacred places? What do her words tell you about ancient Greek culture?


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I have been a stranger here in my own land:All my lifeThe blasphemy of my birth has followed me.

Chorus. Reverence is a virtue, but strengthLives in established law: that must prevail.You have made your choice;Your death is the doing of your conscious hand. b

Antigone. Then let me go, since all your words are bitter,And the very light of the sun is cold to me.Lead me to my vigil, where I must haveNeither love nor lamentation; no song, but silence.

(Creon interrupts impatiently.)Creon. If dirges and planned lamentations could put off death,Men would be singing forever. (to the servants) Take her, go!You know your orders: take her to the vaultAnd leave her alone there. And if she lives or dies,That’s her affair, not ours: our hands are clean.

Antigone. O tomb, vaulted bride-bed in eternal rock,Soon I shall be with my own againWhere Persephone welcomes the thin ghosts underground:And I shall see my father again, and you, Mother,And dearest Polyneices— dearest indeedTo me, since it was my handThat washed him clean and poured the ritual wine:And my reward is death before my time!

And yet, as men’s hearts know, I have done no wrong;I have not sinned before God. Or if I have,I shall know the truth in death. But if the guiltLies upon Creon who judged me, then, I pray,May his punishment equal my own. c

Choragus. O passionate heart,Unyielding, tormented still by the same winds!

Creon. Her guards shall have good cause to regret their delaying.

Antigone. Ah! That voice is like the voice of death!

Creon. I can give you no reason to think you are mistaken.

Antigone. Thebes, and you my fathers’ gods,And rulers of Thebes, you see me now, the lastUnhappy daughter of a line of kings,Your kings, led away to death. You will rememberWhat things I suffer, and at what men’s hands,

60 Persephone (pEr-sDfPE-nC): wife of Hades (hAPdCz) and queen of the underworld.

44 blasphemy of my birth: Antigone is referring to her father’s marriage to his own mother, an incestuous relationship that resulted in her birth. This type of relationship was considered a sin against the gods.

b

CLASSICAL DRAMAReread lines 45–48. To what does the chorus attribute Antigone’s tragic downfall?

lamentation (lBm’En-tAPshEn) n. an expression of grief

c

CLASSICAL DRAMAHow do you judge the way Antigone accepts her death? Consider whether she shows qualities of a tragic hero.



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Because I would not transgress the laws of heaven.(to the guards, simply) Come: let us wait no longer. d

(Exit Antigone, left, guarded.)

ode 4

Chorus. All Danae’s beauty was locked awayIn a brazen cell where the sunlight could not come:A small room, still as any grave, enclosed her.Yet she was a princess too,And Zeus in a rain of gold poured love upon her.O child, child,No power in wealth or warOr tough sea-blackened shipsCan prevail against untiring Destiny!

And Dryas’ son also, that furious king,Bore the god’s prisoning anger for his pride:Sealed up by Dionysus in deaf stone,His madness died among echoes.So at the last he learned what dreadful powerHis tongue had mocked:For he had profaned the revelsAnd fired the wrath of the nineImplacable sisters that love the sound of the flute.

And old men tell a half-remembered taleOf horror done where a dark ledge splits the seaAnd a double surf beats on the grey shores:How a king’s new woman, sickWith hatred for the queen he had imprisoned,Ripped out his two sons’ eyes with her bloody handsWhile grinning Ares watched the shuttle plungeFour times: four blind wounds crying for revenge,

Crying, tears and blood mingled. Piteously born,Those sons whose mother was of heavenly birth!Her father was the god of the north wind,And she was cradled by gales;She raced with young colts on the glittering hillsAnd walked untrammeled in the open light:But in her marriage deathless Fate found meansTo build a tomb like yours for all her joy. e

19–34 These lines refer to the myth of King Phineus (fGnPyMs), who imprisoned his first wife, the daughter of the north wind, and allowed his new wife to blind his sons from his first marriage.

10–18 King Lycurgus (lF-kûrPgEs), son of Dryas (drFPEs), was driven mad and eaten by horses for objecting to the worship of Dionysus. The nine implacable sisters are the Muses, the goddesses who presided over literature, the arts, and the sciences. Once offended, they were impossible to appease.

1–5 The princess Danae (dBnPE-CQ) was imprisoned by her father because it had been predicted that her son would one day kill him. After Zeus visited Danae in the form of a shower of gold, she gave birth to his son Perseus, who did eventually kill his grandfather.

transgress (trBns-grDsP) v. to violate or break (a law, command, or moral code)

d

THEMEWhat is Antigone’s highest loyalty?

e

READING CLASSICAL DRAMAWhat insights into Antigone’s situation do you get from the myths that this ode alludes to? Summarize your thoughts in your chart.

antigone 1097


SCENE 5(Enter blind Teiresias, led by a boy. The opening speeches of Teiresias should be in singsong contrast to the realistic lines of Creon.)

Teiresias. This is the way the blind man comes, princes, princes,Lock step, two heads lit by the eyes of one.

Creon. What new thing have you to tell us, old Teiresias?

Teiresias. I have much to tell you: listen to the prophet, Creon.

Creon. I am not aware that I have ever failed to listen.

Teiresias. Then you have done wisely, King, and ruled well.

Creon. I admit my debt to you. But what have you to say?

Teiresias. This, Creon: you stand once more on the edge of fate.

Creon. What do you mean? Your words are a kind of dread.

Teiresias. Listen, Creon:I was sitting in my chair of augury, at the placeWhere the birds gather about me. They were all a-chatter,As is their habit, when suddenly I heardA strange note in their jangling, a scream, aWhirring fury; I knew that they were fighting,Tearing each other, dyingIn a whirlwind of wings clashing. And I was afraid.I began the rites of burnt offering at the altar,But Hephaestus failed me: instead of bright flame,There was only the sputtering slime of the fat thigh-fleshMelting: the entrails dissolved in grey smoke;The bare bone burst from the welter. And no blaze!

This was a sign from heaven. My boy described it,Seeing for me as I see for others.

I tell you, Creon, you yourself have broughtThis new calamity upon us. Our hearths and altarsAre stained with the corruption of dogs and carrion birdsThat glut themselves on the corpse of Oedipus’ son.The gods are deaf when we pray to them; their fireRecoils from our offering; their birds of omenHave no cry of comfort, for they are gorgedWith the thick blood of the dead. a O my son,These are no trifles! Think: all men make mistakes,But a good man yields when he knows his course is wrong,And repairs the evil. The only crime is pride.

Give in to the dead man, then: do not fight with a corpse—What glory is it to kill a man who is dead?

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1–7 Teiresias is physically blind but spiritually sighted. As a prophet, he is an agent of the gods in their dealings with humans. His revelation of the truth to Oedipus had led Oedipus to leave Thebes, thus indirectly helping Creon to become king.

26–32 According to Teiresias, the birds and dogs that have eaten the corpse of Polyneices have become corrupt, causing the gods to reject the Thebans’ offerings and prayers.

19 Hephaestus (hG-fDsPtEs): the god of fire.

11–17 chair of augury: the place where Teiresias sits to hear the birds, whose sounds reveal the future to him. The fighting among the birds suggests that the anarchy infecting Thebes has spread even to the world of nature.

a

CLASSICAL DRAMAReread lines 18–32. What do they suggest about how the gods view Creon’s refusal to allow Polyneices to be buried?

Sydney Walker as Teiresias in the Lincoln Center Repertory 1971 production




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Think, I beg you:It is for your own good that I speak as I do.You should be able to yield for your own good.

Creon. It seems that prophets have made me their especial province.All my life longI have been a kind of butt for the dull arrowsOf doddering fortunetellers! No, Teiresias:If your birds—if the great eagles of God himself—Should carry him stinking bit by bit to heaven,I would not yield. I am not afraid of pollution:No man can defile the gods. Do what you will;Go into business, make money, speculateIn India gold or that synthetic gold from Sardis,Get rich otherwise than by my consent to bury him.Teiresias, it is a sorry thing when a wise manSells his wisdom, lets out his words for hire!

Teiresias. Ah Creon! Is there no man left in the world—

Creon. To do what? Come, let’s have the aphorism!

Teiresias. No man who knows that wisdom outweighs any wealth?

Creon. As surely as bribes are baser than any baseness.

Teiresias. You are sick, Creon! You are deathly sick!

Creon. As you say: it is not my place to challenge a prophet.

Teiresias. Yet you have said my prophecy is for sale.

Creon. The generation of prophets has always loved gold.

Teiresias. The generation of kings has always loved brass.

Creon. You forget yourself! You are speaking to your king.

Teiresias. I know it. You are a king because of me.

Creon. You have a certain skill; but you have sold out.

Teiresias. King, you will drive me to words that—

Creon. Say them, say them!Only remember: I will not pay you for them.

Teiresias. No, you will find them too costly.

Creon. No doubt. Speak:Whatever you say, you will not change my will.

Teiresias. Then take this, and take it to heart!The time is not far off when you shall pay backCorpse for corpse, flesh of your own flesh.You have thrust the child of this world into living night;You have kept from the gods below the child that is theirs:

50 Sardis (särPdGs): the capital of ancient Lydia, where metal coins were first produced.

defile (dG-fFlP) v. to make dirty, unclean, or impure

Language CoachWord Definitions Sometimes the defi nition of an unknown word can be discovered from context—the surrounding text. One type of context clue is an example that illustrates a word’s meaning. Reread lines 54–56. How do Teiresias’s words help you fi gure out the meaning of aphorism?


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The one in a grave before her death, the other,Dead, denied the grave. This is your crime:And the Furies and the dark gods of hellAre swift with terrible punishment for you.

Do you want to buy me now, Creon? Not many days,And your house will be full of men and women weeping,And curses will be hurled at you from farCities grieving for sons unburied, left to rot before the walls of Thebes.

These are my arrows, Creon: they are all for you.

(to boy) But come, child: lead me home.Let him waste his fine anger upon younger men.Maybe he will learn at lastTo control a wiser tongue in a better head. b

(Exit Teiresias.)

Choragus. The old man has gone, King, but his wordsRemain to plague us. I am old, too,But I cannot remember that he was ever false.

Creon. That is true. . . . It troubles me.Oh it is hard to give in! but it is worseTo risk everything for stubborn pride.

Choragus. Creon: take my advice.

Creon. What shall I do?

Choragus. Go quickly: free Antigone from her vaultAnd build a tomb for the body of Polyneices.

Creon. You would have me do this?

Choragus. Creon, yes!And it must be done at once: God movesSwiftly to cancel the folly of stubborn men.

Creon. It is hard to deny the heart! But IWill do it: I will not fight with destiny. c

Choragus. You must go yourself; you cannot leave it to others.

Creon. I will go.

—Bring axes, servants:Come with me to the tomb. I buried her; IWill set her free. Oh quickly!My mind misgives—The laws of the gods are mighty, and a man must serve themTo the last day of his life!

(Exit Creon.)

77 Furies: three goddesses who avenge crimes, especially those that violate family ties.

c

CHARACTERWhy does Creon change his mind?

b

CHARACTERWhat does Creon’s exchange with the minor character Teiresias reveal about Creon’s view of himself and others? Predict how Teiresias’s prophecy might be fulfilled.

antigone 1101


paean

Choragus. God of many names

Chorus. O Iacchus sonof Cadmean Semele O born of the thunder!guardian of the West regentof Eleusis’ plain O prince of maenad Thebesand the Dragon Field by rippling Ismenus:


Chorus. the flame of torchesflares on our hills the nymphs of Iacchusdance at the spring of Castalia:from the vine-close mountain come ah come in ivy:Evohé evohé! sings through the streets of Thebes


Chorus. Iacchus of Thebesheavenly child of Semele bride of the Thunderer!The shadow of plague is upon us: comewith clement feet oh come from Parnassusdown the long slopes across the lamenting water

Choragus. Io Fire! Chorister of the throbbing stars!O purest among the voices of the night!Thou son of God, blaze for us!

Chorus. Come with choric rapture of circling MaenadsWho cry Io Iacche! God of many names! d

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Paean (pCPEn): a hymn that is an appeal to the gods for assistance. In this paean, the chorus praises Dionysus, or Iacchus (yäPkEs), and calls on him to come to Thebes to show mercy and drive out evil.

8–9 Castalia: a spring on the sacred mountain Parnassus. Grapevines and ivy were symbols of Dionysus.

4–5 These lines name locations near Athens and Thebes. A maenad (mCPnBdQ) was a priestess of Dionysus.

2 Cadmus was the legendary founder of Thebes. Dionysus was the son of Cadmus’ daughter Semele (sE-mCPlC) and Zeus, who is referred to here as thunder.

10 evohé (D-woiP): hallelujah.

d

READING CLASSICAL DRAMAWhat mood is created by this paean to the god Dionysus?



exodos

(Enter Messenger.)

Messenger. Men of the line of Cadmus, you who liveNear Amphion’s citadel: I cannot sayOf any condition of human life, “This is fixed,This is clearly good, or bad.” Fate raises up,And Fate casts down the happy and unhappy alike:No man can foretell his fate. Take the case of Creon:Creon was happy once, as I count happiness:Victorious in battle, sole governor of the land,Fortunate father of children nobly born.And now it has all gone from him! Who can sayThat a man is still alive when his life’s joy fails?He is a walking dead man. Grant him rich;Let him live like a king in his great house:If his pleasure is gone, I would not giveSo much as the shadow of smoke for all he owns.

Choragus. Your words hint at sorrow: what is your news for us?

Messenger. They are dead. The living are guilty of their death.

Choragus. Who is guilty? Who is dead? Speak!

Messenger. Haemon.Haemon is dead; and the hand that killed himIs his own hand.

Choragus. His father’s? or his own?

Messenger. His own, driven mad by the murder his father had done.

Choragus. Teiresias, Teiresias, how clearly you saw it all!

Messenger. This is my news: you must draw what conclusions you can from it.

Choragus. But look: Eurydice, our queen:Has she overheard us?

(Enter Eurydice from the palace, center.)Eurydice. I have heard something, friends:As I was unlocking the gate of Pallas’ shrine,For I needed her help today, I heard a voiceTelling of some new sorrow. And I faintedThere at the temple with all my maidens about me.But speak again: whatever it is, I can bear it:Grief and I are no strangers.

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2 Amphion (Bm-fFQEn), Niobe’s husband, built a wall around Thebes by charming the stones into place with music.

Exodos: the last episode in the play. It is followed by a final speech made by the choragus and addressed directly to the audience.

32 Megareus (mE-gBrPyLs), the older son of Eurydice and Creon, had died in the battle for Thebes.

27 Pallas (pBlPEs): Athena, the goddess of wisdom.

antigone 1103


Messenger. Dearest lady,I will tell you plainly all that I have seen.I shall not try to comfort you: what is the use,Since comfort could lie only in what is not true?The truth is always best. I went with CreonTo the outer plain where Polyneices was lying,No friend to pity him, his body shredded by dogs.We made our prayers in that place to HecateAnd Pluto, that they would be merciful. And we bathedThe corpse with holy water, and we broughtFresh-broken branches to burn what was left of it,And upon the urn we heaped up a towering barrowOf the earth of his own land. When we were done, we ranTo the vault where Antigone lay on her couch of stone.One of the servants had gone ahead,And while he was yet far off he heard a voiceGrieving within the chamber, and he came backAnd told Creon. And as the king went closer,The air was full of wailing, the words lost,And he begged us to make all haste. “Am I a prophet?”He said, weeping. “And must I walk this road,The saddest of all that I have gone before?My son’s voice calls me on. Oh quickly, quickly!Look through the crevice there, and tell meIf it is Haemon, or some deception of the gods!”

We obeyed; and in the cavern’s farthest cornerWe saw her lying:She had made a noose of her fine linen veilAnd hanged herself. Haemon lay beside her,His arms about her waist, lamenting her,His love lost underground, crying outThat his father had stolen her away from him.When Creon saw him, the tears rushed to his eyes,And he called to him: “What have you done, child? Speak to me.What are you thinking that makes your eyes so strange?O my son, my son, I come to you on my knees!”But Haemon spat in his face. He said not a word,Staring— and suddenly drew his swordAnd lunged. Creon shrank back; the blade missed, and the boy,Desperate against himself, drove it half its lengthInto his own side and fell. And as he died,He gathered Antigone close in his arms again,

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39–40 Hecate (hDkPE-tC) and Pluto: other names for Persephone and Hades, the queen and king of the underworld.

43–44 Note the contrast between the barrow, or burial mound, erected by Creon and the handful of dirt used by Antigone to cover her brother.

60 Note that this is the same way in which Jocasta, Antigone’s mother, killed herself.



Choking, his blood bright red on her white cheek.And now he lies dead with the dead, and she is hisAt last, his bride in the houses of the dead. e

(Exit Eurydice into the palace.)Choragus. She has left us without a word. What can this mean?

Messenger. It troubles me, too; yet she knows what is best;Her grief is too great for public lamentation,And doubtless she has gone to her chamber to weepFor her dead son, leading her maidens in his dirge.

Choragus. It may be so: but I fear this deep silence.

(pause)Messenger. I will see what she is doing. I will go in.

(Exit Messenger into the palace. Enter Creon with attendants, bearing Haemon’s body.)Choragus. But here is the king himself: oh look at him,Bearing his own damnation in his arms.

Creon. Nothing you say can touch me any more.My own blind heart has brought meFrom darkness to final darkness. Here you seeThe father murdering, the murdered son—And all my civic wisdom!Haemon my son, so young, so young to die,I was the fool, not you; and you died for me.

Choragus. That is the truth; but you were late in learning it.

Creon. This truth is hard to bear. Surely a godHas crushed me beneath the hugest weight of heaven,And driven me headlong a barbaric wayTo trample out the thing I held most dear.

The pains that men will take to come to pain! f

(Enter Messenger from the palace.)Messenger. The burden you carry in your hands is heavy,But it is not all: you will find more in your house.

Creon. What burden worse than this shall I find there?

Messenger. The queen is dead.

Creon. O port of death, deaf world,Is there no pity for me? And you, angel of evil,I was dead, and your words are death again.Is it true, boy? Can it be true?Is my wife dead? Has death bred death?

Messenger. You can see for yourself.

75

80

85

90

95

100

105

f

CLASSICAL DRAMAReread lines 86–98. How does Creon view his actions?

e

CLASSICAL DRAMASummarize the tragic catastrophe that events have led to.

Language CoachSynonyms Words with the same or similar meanings are synonyms. The word lamentation, meaning “an expression of grief,” is related to the noun lament, which can be a musical expression of grief. What word in line 81 is a possible synonym for lament?

antigone 1105

RL 4


(The doors are opened, and the body of Eurydice is disclosed within.)Creon. Oh pity!All true, all true, and more than I can bear!O my wife, my son!

Messenger. She stood before the altar, and her heartWelcomed the knife her own hand guided,And a great cry burst from her lips for Megareus dead,And for Haemon dead, her sons; and her last breathWas a curse for their father, the murderer of her sons.And she fell, and the dark flowed in through her closing eyes.

Creon. O God, I am sick with fear.Are there no swords here? Has no one a blow for me?

Messenger. Her curse is upon you for the deaths of both.

Creon. It is right that it should be. I alone am guilty.I know it, and I say it. Lead me in, Quickly, friends.I have neither life nor substance. Lead me in. g

Choragus. You are right, if there can be right in so much wrong.The briefest way is best in a world of sorrow.

Creon. Let it come;Let death come quickly and be kind to me.I would not ever see the sun again.

Choragus. All that will come when it will; but we, meanwhile,Have much to do. Leave the future to itself.

Creon. All my heart was in that prayer!

Choragus. Then do not pray any more: the sky is deaf.

Creon. Lead me away. I have been rash and foolish.I have killed my son and my wife.I look for comfort; my comfort lies here dead.Whatever my hands have touched has come to nothing.Fate has brought all my pride to a thought of dust.

(As Creon is being led into the house, the Choragus advances and speaks directly to the audience.)Choragus. There is no happiness where there is no wisdom;No wisdom but in submission to the gods.Big words are always punished,And proud men in old age learn to be wise. h

Translated by Dudley Fitts and Robert Fitzgerald

110

115

120

125

130

135

140

g

CLASSICAL DRAMACreon assumes responsibility for the terrible events that have occurred. To what extent is he a tragic hero?

h

ALLEGORY An allegory is a story that functions on two levels: a literal and a symbolic level. Allegories often teach a moral lesson through their symbolic meaning. Antigone can be read as an allegory about obedience, or as the choragus says, “submission to the gods.” How does the ultimate fate of each character support this reading of Antigone? Give specific examples from the text in your answer.


RL 2


After Reading

Comprehension 1. Recall Why is Antigone determined to bury her brother?

2. Recall What punishment does Antigone receive for disobeying Creon?

3. Clarify How does Antigone die?

Text Analysis4. Identify Conflict Describe the conflict between Antigone and Creon. What

arguments support each one’s position? You may want to reread Scene 2, lines 105–118 (pages 1084–1085).

5. Understand Classical Drama In what way do the comments and songs of the chorus influence your understanding of characters and events? Refer to the chart you filled out as you read.

6. Make Judgments How responsible is Creon for the deaths of Antigone, Haemon, and Eurydice?

7. Analyze Minor Characters How do the minor characters—such as Ismene, Teiresias, Haemon, Eurydice, the sentry, and the messenger—help you judge Antigone and Creon?

8. Analyze Tragedy Who better fits the definition of an archetypal tragic hero, Antigone or Creon? Use a chart like the one shown to help you plan your answer.

9. Analyze Dramatic Irony Discuss the dramatic irony in the play. At what points do you know more than the characters know?

10. Interpret Themes What does the play suggest about where a person’s highest loyalty should lie? What other themes are revealed in the play? Give evidence to support your interpretations.

11. Apply Themes What relevance do the themes of Antigone have in modern times? Explain your opinion, offering examples.

Text Criticism 12. Biographical Context Sophocles was not only a playwright; he also served

in the Athenian government. What messages does Antigone contain about democracy and the government of states?

What is your ultimate LOYALTY? Is it more important to do what you think is right or to follow the rules? Why?

Antigone Creon

Dignified, SuperiorCharacter

Meets Tragic End

Possesses Tragic Flaw

Recognizes Flawand Consequences

antigone 1107

RL 1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. RL 2 Determine a theme or central idea of a text. RL 3 Analyze how complex characters with conflicting motivations develop, interact with others, and advance the plot or develop the theme. RL 10 Read and comprehend dramas.

NA_L10PE-u10s1-arAnt.indd 1107NA_L10PE-u10s1-arAnt.indd 1107 1/7/11 11:52:29 PM1/7/11 11:52:29 PM

Vocabulary in Context vocabulary practice

Decide if each statement is true or false.

1. To sate a desire is to make it stronger. 2. An auspicious event is promising and hopeful. 3. To have contempt for someone is to show scorn and disdain. 4. To have reverence for others is to love and respect them. 5. To do something impassively is to do it with energy and enthusiasm. 6. An anarchist wants to overthrow a country’s government. 7. To speak sententiously is to do so in a respectful, humble manner. 8. Teachers appreciate insolence in their students. 9. A perverse child is one who is obedient. 10. A lamentation might occur at a funeral or burial site. 11. People who transgress the law are those who enforce it. 12. To defile something is to make it more beautiful in appearance.

academic vocabulary in speaking

Imagine that Antigone emerged from this drama and wants to ask your advice on how she should answer Creon’s questions about her actions. Prepare for a cooperative learning interaction by first taking notes on helpful advice you would offer Antigone in this situation. Share your ideas and information with a partner. Then, practice giving and following oral instructions, with one of you taking on the role of Antigone and the other of a modern advisor. Then switch roles. As the advisor, give Antigone specific suggestions, speaking slowly and repeating yourself if necessary. As Antigone, listen carefully to your partner’s suggestions and demonstrate what you have learned by rephrasing his or her ideas in your own words in your sample answers to Creon’s questions. Use at least two Academic Vocabulary words in your discussion.

vocabulary strategy: etymologyAn etymology is the history of a word. Knowing a word’s history can often help you remember the word’s meaning. For example, the word anarchy comes from the Greek prefix an-, “without,” plus the Greek root archos, “leader.” Use a dictionary, thesaurus, or glossary to research the etymology of each word below. Study each word’s origin, meaning, and spelling.

1. contempt: 2. trangress: 3. insolence: 4. perverse:

• drama • emerge • encounter • globe • underlie

word listanarchistauspiciouscontemptdefileimpassivelyinsolencelamentationperversereverencesatesententiouslytransgress


Go to thinkcentral.com.KEYWORD: HML10-1108

InteractiveVocabulary

L 4c Consult reference materials to clarify the etymology of a word.


Language grammar and style: Vary Sentence StructureReview the Grammar and Style note on page 1079. Most sentences you write will have subjects preceding verbs; however, you may occasionally use inverted sentences when you want to add variety or emphasis. In an inverted sentence, the subject comes after the verb or part of the verb phrase. Here is an example from Antigone:

Chorus. Fortunate is the man who has never tasted God’s vengeance! (Ode 2, line 1)

Notice how the revisions in blue in this response to the prompt make the writing more interesting and effective.

reading-writing connectionBroaden your understanding of the play by responding to the prompt. Then use the revising tip to improve your writing.

student model

Creon even suspects Teiresias of disloyalty at the end of the play. The old seer

had never been driven to such anger.the old seer

YOUR

TURN

Extended Constructed Response: AnalysisHow does the motif of blindness in Antigone affect the plot and theme of the play? In your answer, examine the archetype of the blind prophet as portrayed by Teiresias. How does the prophet’s appearance advance the plot of the play? Who else is “blind” in the play? Write a three-to-five-paragraph response.

Review your response. Have you used inverted sentences to add variety or emphasis? If not, revise to make your writing more interesting and effective.

writing prompt revising tip

antigone 1109

Go to thinkcentral.com.KEYWORD: HML10-1109

InteractiveRevision

L 3 Make effective choices for meaning or style. W 9b (RL 2) Draw evidence from literary texts to support analysis and reflection; determine a theme of central idea of a text.


Antigone

The Soundtrack

Group Members Names:

Class Period:

Directions: While in groups, you will be given 12 songs. Together you must decide which song is about which scene & characters within the scene. You will also put the songs in chronological order from the play. You will need to provide a narrative that explains why you believe it fits your scene.

Track 1: ____________________________

1. Which scene of the play? Which specific line? For example: Scene 2, line 14

2. Quote the lines: For example: “Listen, Ismene: Creon buried our brother Eteocles With military honors, gave him a soldier’s funeral, And it was right that he should;”

3. Which specific lyrics fit? For example: “Did you have to do this? I was thinking that you could be trusted. Did you have to ruin what was shiny? Now it's all rusted. Did you have to hit me, where I'm weak? Baby, I couldn't breathe.”

4. Put it ALL together! Provide a short narrative as to why you chose this. Use the evidence you provided above to support your narrative.

Track #: _____

Song: _______________________

5. Which scene of the play? Which specific line? For example: Scene 2, line 14

6. Quote the lines: For example: “Listen, Ismene: Creon buried our brother Eteocles With military honors, gave him a soldier’s funeral, And it was right that he should;”

7. Which specific lyrics fit? For example: “Did you have to do this? I was thinking that you could be trusted. Did you have to ruin what was shiny? Now it's all rusted. Did you have to hit me, where I'm weak? Baby, I couldn't breathe.”

8. Put it ALL together! Provide a short narrative as to why you chose this. Use the evidence you provided above to support your narrative.

"Ain't No Mountain High Enough"

Listen baby, ain't no mountain high,

Ain't no valley low, ain't no river wide enough baby

If you need me call me, no matter where you are,

No matter how far; don't worry baby

Just call my name; I'll be there in a hurry

You don't have to worry,

Oh baby there ain't no mountain high enough,

Ain't no valley low enough,

Ain't no river wide enough

To keep me from getting to you babe

Remember the day I set you free

I told you you could always count on me darling

From that day on, I made a vow,

I'll be there when you want me,

Some way, some how

Oh no darling

No wind, no rain

Or winters cold can stop me baby, no no baby

'Cause you are my goal

If you're ever in trouble;

I'll be there on the double

Just send for me, oh baby, ha

My love is alive

Way down in my heart

Although we are miles apart

If you ever need a helping hand,

I'll be there on the double

Just as fast as I can

Don't you know that there

"Bad Blood"

'Cause, baby, now we got bad blood

You know it used to be mad love

So take a look what you've done

'Cause, baby, now we got bad blood

Hey

Now we got problems

And I don't think we can solve them

You made a really deep cut

And, baby, now we got bad blood

Hey

Did you have to do this? I was thinking that you could be trusted

Did you have to ruin what was shiny? Now it's all rusted

Did you have to hit me, where I'm weak? Baby, I couldn't breathe

And rub it in so deep, salt in the wound like you're laughing right at me

Oh, it's so sad to think about the good times, you and I

Did you think we'd be fine? Still got scars on my back from your knife

So don't think it's in the past, these kinda wounds they last and they last.

Now did you think it all through? All these things will catch up to you

And time can heal but this won't, so if you're coming my way, just don't

Oh, it's so sad to think about the good times, you and I

Band-aids don't fix bullet holes

You say sorry just for show

If you live like that, you live with ghosts (ghosts)

"In The End"

(It starts with one)

One thing I don't know why

It doesn’t even matter how hard you try

Keep that in mind, I designed this rhyme

To explain in due time

(All I know)

Time is a valuable thing

Watch it fly by as the pendulum swings

Watch it count down to the end of the day

The clock ticks life away

(It’s so unreal)

Didn’t look out below

Watch the time go right out the window

Trying to hold on but didn’t even know

I wasted it all just to watch you go

I kept everything inside and even though I tried, it all fell apart

What it meant to be will eventually be a memory of a time when...

I tried so hard

And got so far

But in the end

It doesn't even matter

I had to fall

To lose it all

But in the end

It doesn't even matter

One thing, I don’t know why

It doesn’t even matter how hard you try

Keep that in mind, I designed this rhyme

To remind myself how

I tried so hard

In spite of the way you were mocking me

Acting like I was part of your property

Remembering all the times you fought with me

I’m surprised it got so (far)

Things aren’t the way they were before

You wouldn’t even recognize me anymore

Not that you knew me back then

But it all comes back to me

In the end

I've put my trust in you

Pushed as far as I can go

For all this

There’s only one thing you should know

I've put my trust in you

Pushed as far as I can go

For all this

There’s only one thing you should know

"Let Her Go"

Well you only need the light when it's burning low

Only miss the sun when it starts to snow

Only know you love her when you let her go

Only know you've been high when you're feeling low

Only hate the road when you’re missin' home


And you let her go

Staring at the bottom of your glass

Hoping one day you'll make a dream last

But dreams come slow and they go so fast

You see her when you close your eyes

Maybe one day you'll understand why

Everything you touch surely dies

But you only need the light when it's burning low



Only know you've been high when you're feeling low

Only hate the road when you're missin' home


Staring at the ceiling in the dark

Same old empty feeling in your heart

'Cause love comes slow and it goes so fast

Well you see her when you fall asleep

But never to touch and never to keep

'Cause you loved her too much

And you dived too deep

Well you only need the light when it's burning low



"Let It Be" by The Beatles

When I find myself in times of trouble

Mother Mary comes to me Speaking words of wisdom, let it be

And in my hour of darkness She is standing right in front of me

Speaking words of wisdom, let it be Let it be, let it be Let it be, let it be

Whisper words of wisdom, let it be

And when the broken hearted people Living in the world agree

There will be an answer, let it be For though they may be parted

There is still a chance that they will see There will be an answer, let it be

Let it be, let it be Let it be, let it be

Yeah there will be an answer, let it be Let it be, let it be Let it be, let it be


Let it be, let it be Ah let it be, yeah let it be

Whisper words of wisdom, let it be And when the night is cloudy

There is still a light that shines on me Shine on until tomorrow, let it be I wake up to the sound of music,

Mother Mary comes to me Speaking words of wisdom, let it be

Yeah let it be, let it be Let it be, yeah let it be

Oh there will be an answer, let it be Let it be, let it be

Let it be, yeah let it be Oh there will be an answer, let it be

Let it be, let it be Ah let it be, yeah let it be


"My Immortal"

I'm so tired of being here

Suppressed by all my childish fears

And if you have to leave

I wish that you would just leave

'Cause your presence still lingers here

And it won't leave me alone

These wounds won't seem to heal

This pain is just too real

There's just too much that time cannot erase

[Chorus:]

When you cried I'd wipe away all of your tears

When you'd scream I'd fight away all of your fears

And I held your hand through all of these years

But you still have all of me

You used to captivate me by your resonating light

Now I'm bound by the life you left behind

Your face—it haunts my once pleasant dreams

Your voice—it chased away all the sanity in me

These wounds won't seem to heal

This pain is just too real

There's just too much that time cannot erase

[Chorus]

I've tried so hard to tell myself that you're gone

But though you're still with me

I've been alone all along

[Chorus]

...me, me, me.

"Roar"

I used to bite my tongue and hold my breath

Scared to rock the boat and make a mess

So I sat quietly, agreed politely

I guess that I forgot I had a choice

I let you push me past the breaking point

I stood for nothing, so I fell for everything

You held me down, but I got up (HEY!)

Already brushing off the dust

You hear my voice, you hear that sound

Like thunder gonna shake the ground


Get ready 'cause I’ve had enough

I see it all, I see it now

[Chorus]

I got the eye of the tiger, a fighter, dancing through the fire

'Cause I am a champion and you’re gonna hear me roar

Louder, louder than a lion

'Cause I am a champion and you’re gonna hear me roar

You’re gonna hear me roar

Now I’m floating like a butterfly

Stinging like a bee I earned my stripes

I went from zero, to my own hero


Already brushing off the dust

You hear my voice, you hear that sound

Like thunder gonna shake the ground


Get ready ’cause I’ve had enough

I see it all, I see it now


‘Cause I am a champion and you’re gonna hear me roar




You'll hear me roar

You're gonna hear me roar...

Ro-oar, ro-oar, ro-oar, ro-oar, ro-oar





Oh oh oh oh oh oh

Oh oh oh oh oh oh

Oh oh oh oh oh oh


Oh oh oh oh oh oh

Oh oh oh oh oh oh

You'll hear me roar

Oh oh oh oh oh oh

You're gonna hear me roar...

"Say Something"

Say something, I'm giving up on you

I'll be the one, if you want me to

Anywhere I would've followed you


And I am feeling so small

It was over my head

I know nothing at all

And I will stumble and fall

I'm still learning to love

Just starting to crawl


I'm sorry that I couldn't get to you

Anywhere I would've followed you


And I will swallow my pride

You're the one that I love

And I'm saying goodbye


And I'm sorry that I couldn't get to you

And anywhere I would've followed you (Oh-oh-oh-oh)



Say something...

"Stand By Me"

When the night has come

And the land is dark

And the moon is the only light we'll see No I won't be afraid

Oh, I won't be afraid

Just as long as you stand, stand by me

So darling, darling Stand by me, oh stand by me

Oh stand, stand by me Stand by me

If the sky that we look upon

Should tumble and fall All the mountains should crumble to the sea

I won't cry, I won't cry No, I won't shed a tear

Just as long as you stand, stand by me

And darling, darling

Stand by me, oh stand by me Oh stand now, stand by me

Stand by me

So darling, darling Stand by me, oh stand by me

Oh stand now, stand by me, stand by me Whenever you're in trouble won't you stand by me

Oh stand by me, oh won't you stand now, stand Stand by me

"The Man"

Aloe Blacc

Well you can tell everybody

Yeah you can tell everybody Go ahead and tell everybody

I'm the man, I'm the man, I'm the man

Yes I am, yes I am, yes I am I'm the man, I'm the man, I'm the man

I believe every lie that I ever told

Paid for every heart that I ever stole I played my cards and I didn't fold

Well it ain't that hard when you got soul (this is my world) Somewhere I heard that life is a test

I been through the worst but I still give my best God made my mold different from the rest

Then he broke that mold so I know I'm blessed (this is my world)

Stand up now and face the sun Won't hide my tail or turn and run

It's time to do what must be done

Be a king when kingdom comes

Well you can tell everybody Yeah you can tell everybody

Go ahead and tell everybody I'm the man, I'm the man, I'm the man

I got all the answers to your questions

I'll be the teacher you can be the lesson I'll be the preacher you be the confession

I'll be the quick relief to all your stressin' (this is my world) It's a thin line between love and hate

Is you really real or is you really fake I'm a soldier standing on my feet

No surrender and I won't retreat (this is my world)

Stand up now and face the sun

Won't hide my tail or turn and run It's time to do what must be done

Be a king when kingdom comes

"Titanium"

You shout it out

But I can't hear a word you say

I'm talking loud not saying much

I'm criticized

But all your bullets ricochet

Shoot me down, but I get up

I'm bulletproof, nothing to lose

Fire away, fire away

Ricochet, you take your aim


You shoot me down but I won't fall

I am titanium


I am titanium

Cut me down

But it's you who'll have further to fall

Ghost town and haunted love

Raise your voice, sticks and stones may break my bones

I'm talking loud not saying much

I'm bulletproof, nothing to lose


Ricochet, you take your aim



I am titanium


I am titanium

I am titanium

I am titanium

Stone-hard, machine gun

Firing at the ones who run

Stone-hard as bulletproof glass


I am titanium


I am titanium


I am titanium


I am titanium

I am titanium

"I Won't Back Down" Tom Petty

Well I won't back down, no I won't back down

You could stand me up at the gates of hell But I won't back down

Gonna stand my ground, won't be turned around

And I'll keep this world from draggin' me down Gonna stand my ground and I won't back down

[Chorus:]

Hey baby, there ain't no easy way out Hey I will stand my ground

And I won't back down

Well I know what's right, I got just one life In a world that keeps on pushin' me around

But I'll stand my ground and I won't back down

Hey baby there ain't no easy way out Hey I will stand my ground

And I won't back down No, I won't back down

Documents

All answers must be more than three sentences. - · PDF fileAll answers must be more than three sentences. 1. ... a destiny preordained by the gods no matter what ... Oedipus the King